1 00:00:18,200 --> 00:00:21,799 Speaker 1: Hey, there're Fana Ritos. Welcome back to how Rude Tana Ritos. 2 00:00:22,120 --> 00:00:24,400 Speaker 1: We've talked a lot about how we were a family 3 00:00:24,520 --> 00:00:27,080 Speaker 1: on Full House, but we aren't just referring to our 4 00:00:27,120 --> 00:00:31,680 Speaker 1: cast members. Our family also includes our wonderful, hard working crew. 5 00:00:32,400 --> 00:00:34,720 Speaker 1: Our guest today was an integral part of our crew 6 00:00:34,840 --> 00:00:39,120 Speaker 1: on both Full House and Fuller House. Larry Blumenthal was 7 00:00:39,159 --> 00:00:42,200 Speaker 1: one of our camera operators, and a very talented one 8 00:00:42,240 --> 00:00:45,720 Speaker 1: at that. He is also an incredible composer and director 9 00:00:45,760 --> 00:00:48,760 Speaker 1: of photography. He has known Jody and me since we 10 00:00:48,760 --> 00:00:51,280 Speaker 1: were little kids just trying to hit our marks on 11 00:00:51,320 --> 00:00:54,160 Speaker 1: the stage, and today we are so lucky to get 12 00:00:54,160 --> 00:00:56,200 Speaker 1: to sit down and talk with him about his career, 13 00:00:56,600 --> 00:00:59,320 Speaker 1: his memories from Stage twenty four, and so much more. 14 00:01:00,200 --> 00:01:05,240 Speaker 2: Welcome Larry, It's so good to see you. Andrea. Oh 15 00:01:05,280 --> 00:01:06,480 Speaker 2: my god, you're beautiful. 16 00:01:07,240 --> 00:01:08,479 Speaker 1: I know I am so. 17 00:01:13,240 --> 00:01:16,080 Speaker 3: I have to say, Larry, I saw him. Gosh, when 18 00:01:16,200 --> 00:01:19,480 Speaker 3: was it now earlier or late? Was it late last 19 00:01:19,520 --> 00:01:21,920 Speaker 3: year or early this year? Time has gone by so holy? 20 00:01:22,959 --> 00:01:23,120 Speaker 1: I know. 21 00:01:23,280 --> 00:01:28,280 Speaker 3: Hi. Larry drove all the way from New Mexico I 22 00:01:28,360 --> 00:01:32,360 Speaker 3: did to come and see one of his best friends, Susan, 23 00:01:32,480 --> 00:01:34,840 Speaker 3: who wrote a play that and I'm working with her 24 00:01:34,920 --> 00:01:41,160 Speaker 3: on producing it. But Larry drove to see us do 25 00:01:41,360 --> 00:01:43,319 Speaker 3: a reading of it in OHI drove all the way 26 00:01:43,360 --> 00:01:46,880 Speaker 3: out and it was absolutely wonderful. And yeah, so it was. 27 00:01:47,160 --> 00:01:47,680 Speaker 3: It was great. 28 00:01:47,760 --> 00:01:50,800 Speaker 2: You were absolutely one. Oh my god, thank You're not 29 00:01:50,920 --> 00:01:52,680 Speaker 2: used to seeing you in a more dramatic role, so 30 00:01:52,720 --> 00:01:53,120 Speaker 2: to speak. 31 00:01:54,000 --> 00:01:58,920 Speaker 3: Thank you. It was just yeah. I mean to have 32 00:01:59,040 --> 00:02:01,840 Speaker 3: people you know that we've known for this long. I mean, 33 00:02:01,960 --> 00:02:05,240 Speaker 3: that's the recurring theme I think of every guest that 34 00:02:05,280 --> 00:02:07,840 Speaker 3: has come on the show is how much they absolutely 35 00:02:08,080 --> 00:02:12,880 Speaker 3: loved working on full and Fuller House and what a 36 00:02:12,960 --> 00:02:14,960 Speaker 3: completely unique experience it was. 37 00:02:16,760 --> 00:02:19,799 Speaker 2: And I to take over the show for any reason whatsoever. 38 00:02:19,880 --> 00:02:25,680 Speaker 2: But a little tidbit, just so you know, before Fuller 39 00:02:25,680 --> 00:02:29,280 Speaker 2: House started, years before, back when John and you guys 40 00:02:29,360 --> 00:02:33,120 Speaker 2: everybody was trying to get revived, I was in touch, 41 00:02:34,080 --> 00:02:36,280 Speaker 2: not daily, but damn near daily. It must have felt 42 00:02:36,320 --> 00:02:41,440 Speaker 2: like it for Bob. And I'm talking about Bob ahead. Yeah, 43 00:02:41,520 --> 00:02:44,720 Speaker 2: And I said, Bob, if that show ever happened, I 44 00:02:44,760 --> 00:02:47,760 Speaker 2: don't care what I'm doing, call me, let me know. 45 00:02:47,880 --> 00:02:49,880 Speaker 2: I want to be on it. And I don't care 46 00:02:49,880 --> 00:02:52,440 Speaker 2: if I'm doing a film in Borneo or somewhere. I said, 47 00:02:52,480 --> 00:02:56,079 Speaker 2: I will, I will come running. And sure enough, when 48 00:02:56,080 --> 00:02:59,560 Speaker 2: the first season happened, he called me up at home 49 00:02:59,639 --> 00:03:01,280 Speaker 2: and he's said, Larry, I want to tell you it's 50 00:03:01,280 --> 00:03:04,880 Speaker 2: a go. It's happening, and we haven't we haven't even 51 00:03:05,200 --> 00:03:08,120 Speaker 2: hired a producer yet, so you'll get a call. And 52 00:03:08,400 --> 00:03:10,720 Speaker 2: the funny call was I think the first producer first 53 00:03:10,760 --> 00:03:12,160 Speaker 2: season was Steve Sandel. 54 00:03:12,600 --> 00:03:12,799 Speaker 3: Yeah. 55 00:03:12,840 --> 00:03:16,400 Speaker 2: Yeah, he calls me because boy, you know some people, 56 00:03:16,400 --> 00:03:21,120 Speaker 2: don't you, And I said, I said why? He said, well, 57 00:03:21,320 --> 00:03:25,520 Speaker 2: I've been hired to work on Fuller House. And the 58 00:03:25,600 --> 00:03:28,040 Speaker 2: first call I was to make was to you, You're 59 00:03:28,040 --> 00:03:32,360 Speaker 2: already hired, so and I said, okay, perfect, under what 60 00:03:32,480 --> 00:03:35,520 Speaker 2: guys is well, Greg is still available? Said well, that's 61 00:03:35,560 --> 00:03:38,200 Speaker 2: fine because it could have been either way, right as 62 00:03:38,760 --> 00:03:40,880 Speaker 2: or cameraman. I didn't care. I told Bob, I just 63 00:03:40,880 --> 00:03:44,680 Speaker 2: don't care. And Greg is so good at what he does, 64 00:03:44,720 --> 00:03:45,360 Speaker 2: Oh my gosh. 65 00:03:45,400 --> 00:03:48,720 Speaker 3: Greg Heshaw, who was our DP on Fuller House, who 66 00:03:48,760 --> 00:03:52,040 Speaker 3: is also an incredibly lovely human and a dear, dear friend. 67 00:03:52,200 --> 00:03:55,360 Speaker 2: Beautiful friend, old friend of mine. I've known Greg for 68 00:03:55,400 --> 00:03:56,280 Speaker 2: almost fifty years. 69 00:03:56,320 --> 00:03:56,520 Speaker 3: Wow. 70 00:03:56,560 --> 00:03:59,360 Speaker 2: And I started in the business with him. Really and 71 00:04:00,120 --> 00:04:02,000 Speaker 2: make the story short, which it is not. 72 00:04:02,160 --> 00:04:05,280 Speaker 3: Now this is that's what the body is your episode. Yeah, 73 00:04:05,280 --> 00:04:06,360 Speaker 3: this is your moment. 74 00:04:06,160 --> 00:04:08,200 Speaker 1: Larry, this is your spotlight. 75 00:04:08,240 --> 00:04:09,640 Speaker 3: Yes, this is it. 76 00:04:11,000 --> 00:04:17,520 Speaker 2: I'm gonna make me cry. No, But seriously, the beautiful 77 00:04:17,520 --> 00:04:19,800 Speaker 2: thing was that I knew I was getting toward the 78 00:04:19,839 --> 00:04:22,920 Speaker 2: end of my cycle. I retired one year after we finished. 79 00:04:23,600 --> 00:04:25,599 Speaker 2: I did one season of out Matched and then that 80 00:04:25,720 --> 00:04:29,040 Speaker 2: was it. COVID came. I said, okay, I'm done, so 81 00:04:29,640 --> 00:04:32,719 Speaker 2: but my whole thought and I even talked to Kelly Sanderfer, 82 00:04:32,800 --> 00:04:36,520 Speaker 2: who was a producer on the show as well, and 83 00:04:36,560 --> 00:04:39,960 Speaker 2: I said, what do you think, Kelly, after this is done, 84 00:04:40,040 --> 00:04:42,240 Speaker 2: it's whatever it's going to do. I said, I don't 85 00:04:42,240 --> 00:04:46,039 Speaker 2: care if it does ten years, I'm on. But he said, 86 00:04:46,040 --> 00:04:48,600 Speaker 2: would you really go that long? And I said yes, absolutely, 87 00:04:49,760 --> 00:04:51,520 Speaker 2: And he said, but you know, maybe if we get lucky, 88 00:04:51,640 --> 00:04:54,800 Speaker 2: we get five, and then if we do, then then 89 00:04:54,880 --> 00:04:57,880 Speaker 2: I'll be I'll be a happy camper. I've really it 90 00:04:57,920 --> 00:05:00,159 Speaker 2: would be the perfect way to close out my are 91 00:05:00,200 --> 00:05:05,960 Speaker 2: called film shooting, you know, cinematography career, because I do 92 00:05:06,000 --> 00:05:08,800 Speaker 2: a lot of other things. But it was like going 93 00:05:08,880 --> 00:05:13,719 Speaker 2: home those last five years and being with especially you 94 00:05:13,880 --> 00:05:17,320 Speaker 2: gals you don't even know, and of course Bob God 95 00:05:17,320 --> 00:05:21,359 Speaker 2: Blessing and Evan you know your friend Bump Sag. It 96 00:05:22,200 --> 00:05:24,320 Speaker 2: just all of that, you know. I just, uh, it 97 00:05:24,400 --> 00:05:29,119 Speaker 2: was you couldn't write a book, better finish out something, 98 00:05:29,320 --> 00:05:31,600 Speaker 2: you know, so thank you. When I got the call 99 00:05:31,760 --> 00:05:34,880 Speaker 2: and you guys suggested I show up, I said, I 100 00:05:34,880 --> 00:05:36,440 Speaker 2: know I'm going to do is sit here and work 101 00:05:36,720 --> 00:05:40,159 Speaker 2: bragg and praise about the show because it was its 102 00:05:40,240 --> 00:05:44,640 Speaker 2: family it always has been. And uh, and all the 103 00:05:44,720 --> 00:05:48,960 Speaker 2: crew people that would come on occasional as occasional replacements 104 00:05:49,000 --> 00:05:52,160 Speaker 2: and so forth, most of them, not all of themause, 105 00:05:52,160 --> 00:05:56,279 Speaker 2: some people are just you know, whatever they are, but 106 00:05:56,480 --> 00:05:58,760 Speaker 2: most of them. How do I get on the show permanently? 107 00:05:58,839 --> 00:05:59,600 Speaker 2: I said, good luck? 108 00:06:00,760 --> 00:06:04,240 Speaker 3: Yeah, there really really was. And it's I'm always so 109 00:06:04,400 --> 00:06:08,039 Speaker 3: honored that we have not only the legacy like with 110 00:06:08,080 --> 00:06:11,200 Speaker 3: our fans, but the legacy with our crew and with 111 00:06:11,320 --> 00:06:14,599 Speaker 3: people in this business who have seen the ins and 112 00:06:14,640 --> 00:06:17,200 Speaker 3: outs and what, you know, what this business can be. 113 00:06:17,240 --> 00:06:19,599 Speaker 3: And sometimes it's a grind, and sometimes it's not very fun. 114 00:06:19,640 --> 00:06:22,200 Speaker 3: And sometimes the people you work with aren't aren't family. 115 00:06:22,279 --> 00:06:24,400 Speaker 3: And that's you have a job and you're like Okay, cool, 116 00:06:24,440 --> 00:06:26,920 Speaker 3: I go. I love like what I do, but it's 117 00:06:26,960 --> 00:06:30,279 Speaker 3: not that. And and the hours, the hours of the grind. 118 00:06:30,520 --> 00:06:34,040 Speaker 2: People don't realize that we're we're always hurrying up and waiting. 119 00:06:33,920 --> 00:06:37,679 Speaker 3: And right right, the least glamorous. 120 00:06:37,040 --> 00:06:38,320 Speaker 2: Time, a hurry for everything. 121 00:06:38,520 --> 00:06:41,960 Speaker 3: Yes, right, we have to go now. An hour and 122 00:06:42,000 --> 00:06:44,720 Speaker 3: a half later, well, we needed to fix something right now, 123 00:06:44,760 --> 00:06:45,400 Speaker 3: a light went out. 124 00:06:45,600 --> 00:06:48,279 Speaker 2: Boy, when we're when we're live, when we're we're running, 125 00:06:48,320 --> 00:06:51,960 Speaker 2: and you guys are on, and you are on, and 126 00:06:51,960 --> 00:06:55,039 Speaker 2: and the and and as as the funnel, I always 127 00:06:55,040 --> 00:06:59,000 Speaker 2: thought to myself as the channel or channel or channeling 128 00:06:59,040 --> 00:07:01,920 Speaker 2: the energy, you know, through that lens and it's going 129 00:07:02,000 --> 00:07:04,040 Speaker 2: to go out to all those millions of people. And 130 00:07:04,080 --> 00:07:07,000 Speaker 2: what a great honor that that is to think about 131 00:07:07,000 --> 00:07:10,240 Speaker 2: that and anticipate. And I was always considered a pretty 132 00:07:10,240 --> 00:07:12,680 Speaker 2: good camera operator as well as other things. One of 133 00:07:12,680 --> 00:07:16,520 Speaker 2: the best. Yeah, and so how how you know, Josuick 134 00:07:17,000 --> 00:07:19,640 Speaker 2: wrote about me in his book, you know, so that 135 00:07:19,800 --> 00:07:22,960 Speaker 2: was honored for that, and I just my thought was 136 00:07:23,000 --> 00:07:29,080 Speaker 2: that it's it's not about doing the work, it's anticipating 137 00:07:29,160 --> 00:07:32,360 Speaker 2: and being part of what you were all doing. So 138 00:07:32,480 --> 00:07:38,000 Speaker 2: aware of every little nuance of your facial you know, 139 00:07:38,200 --> 00:07:40,920 Speaker 2: just there's little motions and first Jody I knew like 140 00:07:40,960 --> 00:07:43,080 Speaker 2: the back of my hand. She was four and a half. 141 00:07:43,920 --> 00:07:47,960 Speaker 2: So yeah, so you know, and and it just it's 142 00:07:48,000 --> 00:07:51,240 Speaker 2: an amazing thing when you you finally become part of 143 00:07:51,240 --> 00:07:55,040 Speaker 2: that ballet. It's for me, it's all music anyway. Yeah, 144 00:07:55,440 --> 00:07:56,800 Speaker 2: usual are all as well. 145 00:07:58,080 --> 00:08:02,240 Speaker 3: What a beautiful way to look at camera. You know, 146 00:08:02,320 --> 00:08:05,960 Speaker 3: camera department and camera operators as being the funnel of 147 00:08:06,000 --> 00:08:10,080 Speaker 3: that energy. And it's true, like you know, you as 148 00:08:10,120 --> 00:08:13,280 Speaker 3: a camera operator, you have to know not only just 149 00:08:13,320 --> 00:08:15,040 Speaker 3: what shots you need two shots or this or that, 150 00:08:15,200 --> 00:08:18,880 Speaker 3: but like it's it is about capturing you know, who's 151 00:08:18,920 --> 00:08:21,920 Speaker 3: gonna like being on someone's face when you know they're 152 00:08:21,920 --> 00:08:23,960 Speaker 3: going to have a good reaction, or including them in 153 00:08:24,000 --> 00:08:25,920 Speaker 3: a shot when you know it's gonna be worth it 154 00:08:25,960 --> 00:08:28,480 Speaker 3: for their little you know, one little moment in a 155 00:08:29,280 --> 00:08:32,520 Speaker 3: just that capturing of energy and like funneling it out 156 00:08:32,520 --> 00:08:34,920 Speaker 3: to people. What I've never thought of it that way, 157 00:08:35,000 --> 00:08:37,040 Speaker 3: And that's I love that, Jadie. 158 00:08:37,160 --> 00:08:39,680 Speaker 2: That's really good what you just brought up. And I 159 00:08:39,720 --> 00:08:43,400 Speaker 2: had a young camera operator that I was teaching things too, 160 00:08:43,679 --> 00:08:46,400 Speaker 2: and they were met I was mentoring and I sat 161 00:08:46,440 --> 00:08:48,960 Speaker 2: down and I said, look, here's the real the real job. 162 00:08:49,880 --> 00:08:51,880 Speaker 2: It's not what you're seeing in the picture. It's not 163 00:08:52,000 --> 00:08:55,480 Speaker 2: what's in the frame. It's something else. And that's something 164 00:08:55,480 --> 00:08:58,960 Speaker 2: else that goes like this. Your girlfriend comes into the 165 00:08:59,040 --> 00:09:02,640 Speaker 2: room and she sits down next to you, and she goes, 166 00:09:02,920 --> 00:09:06,600 Speaker 2: I need to talk to you. What are you gonna do. 167 00:09:07,880 --> 00:09:10,680 Speaker 2: You're gonna look out here, You're gonna think what. She's 168 00:09:10,720 --> 00:09:15,960 Speaker 2: gonna say, what's up? What's hitting? What you know? You're 169 00:09:16,040 --> 00:09:19,240 Speaker 2: gonna give her one hundred percent attention. Right then that's 170 00:09:19,360 --> 00:09:22,640 Speaker 2: the job because when you start and you say action 171 00:09:22,800 --> 00:09:26,000 Speaker 2: and you guys are about to do your thing, it's 172 00:09:26,160 --> 00:09:28,960 Speaker 2: in my mind it's like that switch goes on and 173 00:09:28,960 --> 00:09:32,640 Speaker 2: it's like the equipment isn't there anymore. I'm reaching it and 174 00:09:32,679 --> 00:09:36,040 Speaker 2: I'm holding left hand, right hand to whatever the extremities 175 00:09:36,040 --> 00:09:38,280 Speaker 2: of the frame ak and it's like a big hug, 176 00:09:38,679 --> 00:09:41,920 Speaker 2: and I'm listening for everything. And that's exactly what I 177 00:09:41,960 --> 00:09:43,360 Speaker 2: was always doing trying to do. 178 00:09:51,880 --> 00:09:54,240 Speaker 1: I love the way you describe this like this is 179 00:09:54,320 --> 00:09:57,480 Speaker 1: just so beautiful, The way you describe it so vividly 180 00:09:58,120 --> 00:10:01,640 Speaker 1: and so sensory, like this is you're not just operating machinery. 181 00:10:01,840 --> 00:10:04,120 Speaker 1: It is a very sensory experience. 182 00:10:04,360 --> 00:10:07,920 Speaker 2: I love this well completely. The equipment's just the the 183 00:10:07,960 --> 00:10:13,800 Speaker 2: garbage that we've somehow invented to allow us to to 184 00:10:13,920 --> 00:10:20,200 Speaker 2: take off of the Golden Globe stage you know, upstage, 185 00:10:20,240 --> 00:10:24,400 Speaker 2: downstage left, right, whatever, and and channel and put that 186 00:10:24,520 --> 00:10:27,839 Speaker 2: out to millions of people later. Yeah, and now it's 187 00:10:27,880 --> 00:10:29,760 Speaker 2: a beautiful thing. I mean, I go on Netflix and 188 00:10:29,800 --> 00:10:32,920 Speaker 2: I see what we did those last five years, and oh, 189 00:10:33,200 --> 00:10:36,040 Speaker 2: it's so beautiful and it's so clear. It's like, are 190 00:10:36,080 --> 00:10:38,480 Speaker 2: right there. Yeah, And I have a hard time watching 191 00:10:38,559 --> 00:10:41,760 Speaker 2: because you know, there's a lot of memories and we 192 00:10:41,880 --> 00:10:45,040 Speaker 2: lost people. Yeah, you know, and there's some people that 193 00:10:45,080 --> 00:10:47,520 Speaker 2: I love very much and I'll never see them again. Yeah, 194 00:10:48,480 --> 00:10:51,600 Speaker 2: you know, it's just hard hard for me to watch it. Yeah, 195 00:10:51,800 --> 00:10:56,640 Speaker 2: but yeah, you have to look at it. So did 196 00:10:56,679 --> 00:10:57,880 Speaker 2: we do that? Wow? 197 00:10:59,000 --> 00:11:02,240 Speaker 3: We really did? And we And it's funny you mentioned 198 00:11:02,240 --> 00:11:04,959 Speaker 3: the belt. You said, you know that we're all sort 199 00:11:05,000 --> 00:11:06,959 Speaker 3: of a part of the ballet, And all of a sudden, 200 00:11:07,200 --> 00:11:11,560 Speaker 3: what came to my mind was Andrea in the rat 201 00:11:11,640 --> 00:11:16,680 Speaker 3: costume in the Nutcracker episode the Nutcracker Ballet, and again, 202 00:11:17,000 --> 00:11:23,600 Speaker 3: like the brilliant little in between moments that weren't lines, 203 00:11:23,679 --> 00:11:27,480 Speaker 3: that weren't you know, it was just it was your face, 204 00:11:27,600 --> 00:11:29,760 Speaker 3: it was your you know, and like, oh my god, 205 00:11:29,800 --> 00:11:32,760 Speaker 3: the brilliant, brilliant moments that were captured of that. It was, 206 00:11:32,960 --> 00:11:38,840 Speaker 3: you know, so ridiculous but so funny and and yeah, 207 00:11:38,880 --> 00:11:42,200 Speaker 3: like that ballet of that we're all you know. And again, 208 00:11:42,240 --> 00:11:45,400 Speaker 3: that's what I love about this business is watching every 209 00:11:45,480 --> 00:11:50,520 Speaker 3: department hume along in its little groove and create this 210 00:11:50,640 --> 00:11:54,200 Speaker 3: thing that you see that you know, when you're watching, 211 00:11:54,240 --> 00:11:57,200 Speaker 3: it looks effortless and like it just happened and someone 212 00:11:57,280 --> 00:11:59,200 Speaker 3: and you're just getting a window into it, when you know, 213 00:11:59,240 --> 00:12:02,000 Speaker 3: really it took two hundred and fifty people to pull 214 00:12:02,120 --> 00:12:02,760 Speaker 3: one zene off. 215 00:12:03,920 --> 00:12:09,240 Speaker 2: Seriously. Another thing that I especially loved about this particular cast, 216 00:12:09,520 --> 00:12:12,200 Speaker 2: you know, especially you through gals, and of course the 217 00:12:12,240 --> 00:12:14,840 Speaker 2: guys as well. You know, there were such veterans in 218 00:12:14,880 --> 00:12:22,280 Speaker 2: all ways. But what really made living there so wonderful 219 00:12:22,320 --> 00:12:26,160 Speaker 2: for those five years, I have to say, is the 220 00:12:25,840 --> 00:12:32,120 Speaker 2: the whole process where everyone is doing their thing, like 221 00:12:32,160 --> 00:12:37,320 Speaker 2: you said, all the different parts. But yet we've had 222 00:12:38,200 --> 00:12:40,720 Speaker 2: really great directors and we had some that were really 223 00:12:40,840 --> 00:12:43,360 Speaker 2: you know, it's good, you know, whatever you know, and 224 00:12:43,440 --> 00:12:46,080 Speaker 2: you could feel the difference. You could feel the disjointedness 225 00:12:46,120 --> 00:12:51,080 Speaker 2: when things aren't flowing. But it didn't matter once the 226 00:12:51,120 --> 00:12:55,600 Speaker 2: actual show was on and the audience is there and 227 00:12:55,679 --> 00:12:59,800 Speaker 2: we're rolling. You all made it seem like there was 228 00:12:59,840 --> 00:13:04,080 Speaker 2: no director that you were the directors you were. You 229 00:13:04,160 --> 00:13:08,440 Speaker 2: were like the symbiotic parts of a larger body that 230 00:13:08,520 --> 00:13:11,160 Speaker 2: we had the beautiful opportunity to be a part of 231 00:13:11,280 --> 00:13:14,520 Speaker 2: watching and listening to. Well, I'll never forget that, but 232 00:13:14,559 --> 00:13:18,000 Speaker 2: there's always to me. Don't worry. I know this rehearsal sucking, 233 00:13:18,080 --> 00:13:22,560 Speaker 2: you have this, This directors an idiot, because once once 234 00:13:22,600 --> 00:13:27,400 Speaker 2: we get there, okay, it won't matter because you know 235 00:13:28,160 --> 00:13:31,319 Speaker 2: the Candice and and Jodie and Andrew, they don't they 236 00:13:31,320 --> 00:13:33,800 Speaker 2: don't care. They'll just don't. They're gonna do what they're 237 00:13:33,800 --> 00:13:36,400 Speaker 2: gonna do anyway, right bottom line. 238 00:13:36,800 --> 00:13:39,440 Speaker 3: And you know, well that's true. You know it was funny. 239 00:13:39,440 --> 00:13:42,920 Speaker 3: I do remember so many times, even like blocking and stuff, 240 00:13:44,880 --> 00:13:47,040 Speaker 3: where it was like, you know, rehearsal day, but we'd 241 00:13:47,120 --> 00:13:50,559 Speaker 3: just come in and it was like we'd start sometimes 242 00:13:50,600 --> 00:13:51,719 Speaker 3: doing the scene and I don't know, if it was 243 00:13:51,800 --> 00:13:53,600 Speaker 3: rich that would kind of go I don't just see 244 00:13:53,600 --> 00:13:56,640 Speaker 3: what you do. But Sender would do that sometimes too, 245 00:13:56,720 --> 00:13:59,040 Speaker 3: unless there was something very specific. But it was so 246 00:13:59,200 --> 00:14:03,439 Speaker 3: interesting to realize, like even as I was reading the 247 00:14:03,440 --> 00:14:05,800 Speaker 3: script before we would even get on stage, like I 248 00:14:05,840 --> 00:14:08,120 Speaker 3: saw exactly how the action was going to play, because 249 00:14:08,160 --> 00:14:10,400 Speaker 3: it was like being in your own house, so you 250 00:14:10,520 --> 00:14:12,760 Speaker 3: like knew, and you know, half the time we would 251 00:14:12,840 --> 00:14:15,720 Speaker 3: be doing rehearsal and it was like we just sort 252 00:14:15,720 --> 00:14:17,840 Speaker 3: of did whatever we did in the scene and then 253 00:14:17,840 --> 00:14:19,880 Speaker 3: it was like, well, yeah, that works. Everyone got to 254 00:14:19,880 --> 00:14:21,640 Speaker 3: where they needed to be and got to the prop 255 00:14:21,680 --> 00:14:23,440 Speaker 3: that they needed to get to and crossed when they 256 00:14:23,440 --> 00:14:25,760 Speaker 3: needed to do, and for the most part, it was 257 00:14:25,880 --> 00:14:28,520 Speaker 3: we just sort of had that sense of it, like 258 00:14:28,560 --> 00:14:32,320 Speaker 3: we knew when we should cross when we should you know, 259 00:14:32,880 --> 00:14:34,240 Speaker 3: it's like a senate yet. 260 00:14:35,120 --> 00:14:38,560 Speaker 2: Yeah, yeah, I really believe that great actors on a 261 00:14:38,600 --> 00:14:42,680 Speaker 2: great working set that's a good one that is identifiable 262 00:14:42,720 --> 00:14:47,320 Speaker 2: and well known to the public at large. This set 263 00:14:47,360 --> 00:14:51,600 Speaker 2: itself has a muscle memory, Oh definitely. And then that 264 00:14:51,640 --> 00:14:55,480 Speaker 2: works for the cameras too, you know. I mean, you know, okay, 265 00:14:56,360 --> 00:14:58,720 Speaker 2: I don't know how many times in my particular case, 266 00:14:59,800 --> 00:15:04,360 Speaker 2: the technical coordinator or the directory go you're already there. 267 00:15:05,320 --> 00:15:07,200 Speaker 2: You know, Yeah, it's obvious. 268 00:15:07,240 --> 00:15:11,800 Speaker 3: I saw, right, what do you got something new, something 269 00:15:11,800 --> 00:15:14,920 Speaker 3: else gonna happen, right right. 270 00:15:15,240 --> 00:15:17,400 Speaker 1: We were a well oiled machine. And I always felt 271 00:15:17,400 --> 00:15:19,720 Speaker 1: bad for those directors that would cut, like the one 272 00:15:19,760 --> 00:15:21,240 Speaker 1: off directors, because right. 273 00:15:21,160 --> 00:15:23,040 Speaker 3: Right, because they'd come in and we were like like 274 00:15:23,120 --> 00:15:25,640 Speaker 3: we were a family, you know, yeah, we're like we 275 00:15:26,160 --> 00:15:29,760 Speaker 3: we are out of control, out of hand, and best 276 00:15:29,800 --> 00:15:32,640 Speaker 3: of luck corralling us. And but but at the same time, like, 277 00:15:33,160 --> 00:15:35,200 Speaker 3: don't worry, we'll get it done. Like it looks you 278 00:15:35,240 --> 00:15:37,560 Speaker 3: we're all over the planet. Well, don't worry, we'll be fine. 279 00:15:37,640 --> 00:15:39,440 Speaker 1: Come Friday night, It'll all the magic. 280 00:15:39,480 --> 00:15:44,280 Speaker 3: I'm happy, Yeah, it will have Yeah. I where though 281 00:15:44,360 --> 00:15:47,800 Speaker 3: every Friday night we would go out for intros and 282 00:15:47,880 --> 00:15:52,280 Speaker 3: at that moment I would go, oh no, I don't 283 00:15:52,320 --> 00:15:55,320 Speaker 3: know what I'm doing, like and it was every show, 284 00:15:56,080 --> 00:15:58,680 Speaker 3: no matter what, I would just be like, it's gone. 285 00:15:59,440 --> 00:16:02,400 Speaker 3: I don't know what happened. It was like like my 286 00:16:02,400 --> 00:16:05,480 Speaker 3: brain would go totally blank. We'd be getting ready before 287 00:16:05,680 --> 00:16:07,840 Speaker 3: Gwen would be there, we'd be running lines whatever, and 288 00:16:07,880 --> 00:16:12,320 Speaker 3: then we would start and it was like, oh, oh no, 289 00:16:12,440 --> 00:16:14,480 Speaker 3: there it is like and it just like clicked on 290 00:16:14,760 --> 00:16:17,360 Speaker 3: and it would go and you're like, oh, oh, this 291 00:16:17,400 --> 00:16:20,520 Speaker 3: is fine. But every show I felt like, no matter what, 292 00:16:20,680 --> 00:16:23,240 Speaker 3: you have that moment where you're like, I can't do this. 293 00:16:24,000 --> 00:16:28,440 Speaker 2: You who No, No, it's it's almost overwhelming. I mean 294 00:16:28,480 --> 00:16:31,360 Speaker 2: it's the same thing. I mean I was, you know, 295 00:16:31,440 --> 00:16:34,720 Speaker 2: I know this is not a good habit, but I 296 00:16:34,760 --> 00:16:38,560 Speaker 2: was one of those people that never took notes. Oh 297 00:16:39,360 --> 00:16:43,800 Speaker 2: people always take notes. And they'd go over and they'd 298 00:16:43,840 --> 00:16:46,120 Speaker 2: look and there's nothing on my pad, and I go, 299 00:16:47,120 --> 00:16:50,640 Speaker 2: I'm watching the rehearsal. I'm watching what they do. And 300 00:16:51,280 --> 00:16:55,000 Speaker 2: if I'm not identically watching and aware of where they're going, 301 00:16:55,040 --> 00:16:58,560 Speaker 2: and then we're not dancing. Yeah, right, we have to 302 00:16:58,640 --> 00:17:01,840 Speaker 2: dance together. And because they might do a different step, 303 00:17:01,840 --> 00:17:03,160 Speaker 2: they might go somewhere else, or. 304 00:17:03,120 --> 00:17:05,720 Speaker 3: Something they might cross slightly earlier, or something like, I 305 00:17:05,800 --> 00:17:16,760 Speaker 3: need to know what the what it's about. Sure, Clarry, 306 00:17:16,760 --> 00:17:22,120 Speaker 3: you are legendary in truly in this business. You have 307 00:17:22,160 --> 00:17:29,359 Speaker 3: been a camera operator well over forty years, and I 308 00:17:29,800 --> 00:17:35,800 Speaker 3: just I just love hearing all the stuff that you 309 00:17:36,040 --> 00:17:39,560 Speaker 3: have created, and you know, not to mention you're composing, 310 00:17:39,640 --> 00:17:42,320 Speaker 3: which I have been raving about, and your you know, 311 00:17:42,600 --> 00:17:46,119 Speaker 3: your art and your activism and you know all of 312 00:17:46,160 --> 00:17:47,800 Speaker 3: the things that you do that I just you know, 313 00:17:47,880 --> 00:17:52,360 Speaker 3: I love you for. But but what was it for 314 00:17:52,440 --> 00:17:55,800 Speaker 3: you that like like going way way back? What was 315 00:17:55,840 --> 00:17:57,840 Speaker 3: it that made you go, this is what I want 316 00:17:57,880 --> 00:17:59,720 Speaker 3: to do, This is how I want to create art 317 00:18:00,160 --> 00:18:00,720 Speaker 3: in the world. 318 00:18:01,200 --> 00:18:06,479 Speaker 2: This is funny, it's actually true. Two things. When I 319 00:18:06,520 --> 00:18:12,720 Speaker 2: was very young, I loved bloney and I would take 320 00:18:12,760 --> 00:18:15,320 Speaker 2: a little hole out of the very center of it 321 00:18:15,920 --> 00:18:19,840 Speaker 2: and I called it record meet and Mom would go 322 00:18:19,880 --> 00:18:21,320 Speaker 2: so well, I got to buy some more record meat 323 00:18:21,320 --> 00:18:24,200 Speaker 2: for Larry because I could put it on my finger 324 00:18:24,240 --> 00:18:28,119 Speaker 2: and i'd spin it now. And then secondly, when I 325 00:18:28,160 --> 00:18:30,720 Speaker 2: started to learn to read, which is probably about five 326 00:18:30,800 --> 00:18:34,800 Speaker 2: or six years old, I was early early I'm reading 327 00:18:35,119 --> 00:18:40,760 Speaker 2: compared to most kids. I saw a movie and it 328 00:18:40,800 --> 00:18:43,840 Speaker 2: was about the Lumier brothers, believe it or not. And 329 00:18:44,200 --> 00:18:46,520 Speaker 2: it was an old I think Walter Pigeon or somebody 330 00:18:46,560 --> 00:18:48,199 Speaker 2: like that was and I don't even remember the name 331 00:18:48,240 --> 00:18:56,359 Speaker 2: of the film. And in it, I saw that his 332 00:18:56,520 --> 00:19:00,520 Speaker 2: girlfriend or wife or somebody came over to him and 333 00:19:00,680 --> 00:19:04,159 Speaker 2: took a book and she had put dots in the 334 00:19:04,400 --> 00:19:07,280 Speaker 2: sides of the page with a cat and a stick 335 00:19:07,280 --> 00:19:12,679 Speaker 2: for your lady with a umbrella trying to hit the 336 00:19:13,560 --> 00:19:15,520 Speaker 2: and she flipped the pages to make the end flipped. 337 00:19:18,040 --> 00:19:20,239 Speaker 2: I was like five at that time, and I saw that, 338 00:19:21,080 --> 00:19:23,600 Speaker 2: and I asked my dad to go gat some three 339 00:19:23,640 --> 00:19:26,040 Speaker 2: by five cards to give me a big deck, and 340 00:19:26,080 --> 00:19:29,640 Speaker 2: I drew pictures for hours, and I made a big 341 00:19:29,720 --> 00:19:34,760 Speaker 2: flip image of a rocket taking on. That was my 342 00:19:34,840 --> 00:19:38,960 Speaker 2: first movie. That's where it started. And so you don't 343 00:19:39,040 --> 00:19:42,280 Speaker 2: know what things are going to come at you that 344 00:19:42,359 --> 00:19:46,960 Speaker 2: you are just just grab you, you know. My mother 345 00:19:47,000 --> 00:19:51,000 Speaker 2: also had an ultra ultra sensitive hearing, and she couldn't 346 00:19:51,000 --> 00:19:53,240 Speaker 2: read a note of music, but she was always good 347 00:19:53,280 --> 00:19:57,680 Speaker 2: at at playing piano by ear. She had very good 348 00:19:58,119 --> 00:20:00,600 Speaker 2: tonal acuity, which I didn't know as a child that 349 00:20:00,640 --> 00:20:04,040 Speaker 2: I had that too. It's not perfect pitch. It's called 350 00:20:04,080 --> 00:20:07,000 Speaker 2: relative pitch. Perfect pitch is something you can have if 351 00:20:07,040 --> 00:20:09,840 Speaker 2: you enhance it by the time you're five, but if 352 00:20:09,880 --> 00:20:14,840 Speaker 2: you're fifter five, it goes away. Generally speaking, it goes away. 353 00:20:14,960 --> 00:20:17,840 Speaker 2: Almost everybody can do it if you are caught soon 354 00:20:17,960 --> 00:20:22,600 Speaker 2: enough and if you're trained well enough. I think there's 355 00:20:22,600 --> 00:20:26,359 Speaker 2: something like forty or fifty phonemes that are in the 356 00:20:26,359 --> 00:20:28,800 Speaker 2: English language, and they're all the same ones that may 357 00:20:28,840 --> 00:20:33,400 Speaker 2: call it, you know, they all those sounds and put 358 00:20:33,440 --> 00:20:36,600 Speaker 2: in different order. Those forty or fifty sounds create our 359 00:20:36,640 --> 00:20:40,639 Speaker 2: words that we understand. But in some areas, like in 360 00:20:40,680 --> 00:20:42,359 Speaker 2: certain areas of China and so forth, they have like 361 00:20:42,359 --> 00:20:45,480 Speaker 2: two hundred and fifty they have four hundred phone memes, 362 00:20:45,960 --> 00:20:51,320 Speaker 2: so it's not just eh, it's all mean something else. 363 00:20:52,440 --> 00:20:55,119 Speaker 2: We don't have that in our language. So the problem 364 00:20:55,200 --> 00:20:57,880 Speaker 2: is as our kids grow older and get to become 365 00:20:57,880 --> 00:21:01,000 Speaker 2: five or six years old, all of that starts to 366 00:21:01,040 --> 00:21:02,040 Speaker 2: go away, right, You. 367 00:21:01,960 --> 00:21:06,399 Speaker 3: Lose the ability to hear those distinct sounds in yeah, 368 00:21:06,400 --> 00:21:10,640 Speaker 3: and also the almost the exact tongue placement of like 369 00:21:10,640 --> 00:21:13,280 Speaker 3: like some languages that are very they have like a 370 00:21:13,720 --> 00:21:16,439 Speaker 3: this is my weird little ad d linguist moment, but 371 00:21:16,520 --> 00:21:18,239 Speaker 3: like they call it like a glottal stop where it's 372 00:21:18,400 --> 00:21:19,840 Speaker 3: kind of that thing in the back of your throat, 373 00:21:19,840 --> 00:21:22,960 Speaker 3: like a lot of Vietnamese things like that becomes very 374 00:21:23,000 --> 00:21:28,000 Speaker 3: hard to do, almost perfectly, because you don't learn how 375 00:21:28,000 --> 00:21:30,879 Speaker 3: to like position your tongue and your soft palate in 376 00:21:30,920 --> 00:21:34,879 Speaker 3: the correct way, and so as your mouth forms you 377 00:21:34,960 --> 00:21:39,720 Speaker 3: lose that ability anyway, random little side note, but but yeah, 378 00:21:39,760 --> 00:21:45,280 Speaker 3: it like that is I mean the language and art 379 00:21:45,400 --> 00:21:47,840 Speaker 3: and all of that like that, that was the thing 380 00:21:48,080 --> 00:21:50,399 Speaker 3: that you wanted to do and tell stories and be 381 00:21:50,480 --> 00:21:53,480 Speaker 3: able to like express to the world. 382 00:21:53,359 --> 00:21:58,480 Speaker 2: Right absolutely, And so for me the visual thing and 383 00:21:57,920 --> 00:22:02,239 Speaker 2: the sensing of sound and rhythms and such. I was 384 00:22:02,480 --> 00:22:05,800 Speaker 2: usually left home my folks. I could go out on 385 00:22:05,840 --> 00:22:08,040 Speaker 2: the evenings and I would take care of my little 386 00:22:08,040 --> 00:22:11,600 Speaker 2: brother was seven years younger. So we had a back 387 00:22:11,640 --> 00:22:13,560 Speaker 2: in those days. Weren't even stereo, but it was a hi 388 00:22:13,640 --> 00:22:18,520 Speaker 2: fi system. We had a local channel that had almost 389 00:22:18,560 --> 00:22:21,680 Speaker 2: no advertising on it at all. It was all classical music. 390 00:22:22,640 --> 00:22:26,199 Speaker 2: That's what I would turn on to listen to and 391 00:22:26,280 --> 00:22:29,879 Speaker 2: just lie on the living room floor underneath that hi 392 00:22:30,040 --> 00:22:34,119 Speaker 2: fi just to kind of have have my fright. You know, 393 00:22:34,160 --> 00:22:37,359 Speaker 2: your kids are young, they're scared of things, and I 394 00:22:37,359 --> 00:22:39,920 Speaker 2: felt like, well it was here, I'm calm and everything's good. 395 00:22:40,440 --> 00:22:43,439 Speaker 2: So all of those things kind of blended together to 396 00:22:43,480 --> 00:22:49,199 Speaker 2: create this media, this desire to observe, and then the 397 00:22:49,240 --> 00:22:51,959 Speaker 2: next thing that happens. I've discovered the great films of 398 00:22:52,560 --> 00:22:56,159 Speaker 2: David Lean and the great films of Hitchcock, and of 399 00:22:56,160 --> 00:23:00,720 Speaker 2: course many many others. I mean, certainly uh, we could 400 00:23:00,760 --> 00:23:09,600 Speaker 2: go on and on. But the way that I learned 401 00:23:09,600 --> 00:23:13,360 Speaker 2: how some directors liked the way that we get performers 402 00:23:13,440 --> 00:23:16,119 Speaker 2: to come up with what it is they had in 403 00:23:16,160 --> 00:23:21,000 Speaker 2: their mind for their film. It was always extremely interesting 404 00:23:21,040 --> 00:23:25,120 Speaker 2: to me that whole directorial approach. Some are just dictatorial, 405 00:23:25,280 --> 00:23:26,760 Speaker 2: just do it this way, don't want to ask you no, 406 00:23:26,840 --> 00:23:30,920 Speaker 2: no no. That's sort of the way Hitchcock was, whereas Lean, 407 00:23:32,000 --> 00:23:36,760 Speaker 2: he would try to infuse a reaction into his actors 408 00:23:37,320 --> 00:23:40,000 Speaker 2: and get them to respond, but usually by some other 409 00:23:40,119 --> 00:23:44,840 Speaker 2: vicarious thing. An example, I don't need to take up 410 00:23:44,880 --> 00:23:45,920 Speaker 2: on your space. 411 00:23:45,680 --> 00:23:47,960 Speaker 3: You're not at all. This is like this, this was 412 00:23:48,000 --> 00:23:50,560 Speaker 3: the question that we asked this. We love we love 413 00:23:50,640 --> 00:23:54,000 Speaker 3: have like we're so excited to learn from the people 414 00:23:54,040 --> 00:23:55,640 Speaker 3: that we grew up around. And it's so much fun 415 00:23:55,680 --> 00:23:58,240 Speaker 3: to interview people because we're like, tell us everything you 416 00:23:58,320 --> 00:23:59,960 Speaker 3: know and what inspired you. It's great. 417 00:24:00,840 --> 00:24:05,920 Speaker 2: You humble me and you embarrassed people. Gosh, well, this 418 00:24:06,040 --> 00:24:10,120 Speaker 2: is a great story. And I I saw an interview 419 00:24:10,240 --> 00:24:12,040 Speaker 2: or I read it somewhere, but it was from David 420 00:24:12,080 --> 00:24:14,480 Speaker 2: Lean himself back when he was alive, and he was 421 00:24:14,480 --> 00:24:20,800 Speaker 2: talking about doctor Chevago Ohmarsharif Ohmarsharif goes to this hyphalutin 422 00:24:21,480 --> 00:24:26,040 Speaker 2: Tsarist party on the second or third floor, and Laura's 423 00:24:26,119 --> 00:24:27,960 Speaker 2: there and all the other characters are in there, and 424 00:24:27,960 --> 00:24:31,120 Speaker 2: all these people and they're all, you know, dancing around 425 00:24:31,200 --> 00:24:37,200 Speaker 2: in great music and food and drink and I'll be merried, wealthy. Meanwhile, 426 00:24:37,400 --> 00:24:40,639 Speaker 2: down on the streets, one of the very first demonstrations 427 00:24:40,680 --> 00:24:45,720 Speaker 2: by the Bolsheviks is about to happen, and unbeknownst to him, 428 00:24:46,000 --> 00:24:49,960 Speaker 2: doctor Zavago oh marsha Eve goes out on the balcony 429 00:24:50,160 --> 00:24:52,800 Speaker 2: just gets mayor because he's not real happy with the 430 00:24:52,920 --> 00:24:57,040 Speaker 2: environment that he's under or in. And as he's going 431 00:24:57,080 --> 00:25:04,320 Speaker 2: out there, the the Bolsheviks are beginning to with the peaceful, 432 00:25:04,480 --> 00:25:07,159 Speaker 2: peaceful you know, down the street with signs and the 433 00:25:07,200 --> 00:25:11,440 Speaker 2: whole thing, and the guards, the Tsar's guards go on 434 00:25:11,640 --> 00:25:14,639 Speaker 2: and start just killing them, just wipes them out. I 435 00:25:14,680 --> 00:25:17,879 Speaker 2: don't remember that particular scene. The reason this scene was 436 00:25:17,960 --> 00:25:21,960 Speaker 2: so extraordinary because you never really see any violence. You 437 00:25:22,040 --> 00:25:24,080 Speaker 2: don't see the blood thirsty side of it. What you 438 00:25:24,280 --> 00:25:29,080 Speaker 2: see is all in the reactions of the close up 439 00:25:29,600 --> 00:25:34,840 Speaker 2: of Omar Sharif's face. Now, how does a director get 440 00:25:35,480 --> 00:25:39,080 Speaker 2: that huge scene with all that that all that it 441 00:25:39,280 --> 00:25:44,119 Speaker 2: has to express politically and every otherwise. In a close 442 00:25:44,240 --> 00:25:48,920 Speaker 2: up on one new actor his face, how does he 443 00:25:49,000 --> 00:25:52,240 Speaker 2: not well, this is what he did. He didn't tell 444 00:25:52,280 --> 00:25:56,320 Speaker 2: Omar what the scene was about, and the camerades is ready. 445 00:25:56,359 --> 00:25:58,840 Speaker 2: This is what I want you to do. You walk 446 00:25:58,880 --> 00:26:02,320 Speaker 2: out on the balcony. You look out and you see 447 00:26:02,359 --> 00:26:05,359 Speaker 2: the most beautiful woman you've ever seen in your life, 448 00:26:06,560 --> 00:26:09,560 Speaker 2: and you're you're amazed by her, and you're a little 449 00:26:09,600 --> 00:26:11,760 Speaker 2: bit shy because you don't want to tip off it. 450 00:26:11,800 --> 00:26:15,320 Speaker 2: You're kind of staring at her. But then she does 451 00:26:15,400 --> 00:26:19,359 Speaker 2: some things that you just you can't not watch, and 452 00:26:19,520 --> 00:26:24,359 Speaker 2: it's so overwhelming you almost but just before you do, 453 00:26:25,480 --> 00:26:29,359 Speaker 2: you stop yourself, and then it builds up again, and 454 00:26:29,440 --> 00:26:32,680 Speaker 2: then you stop yourself, but you're always on the crest 455 00:26:32,720 --> 00:26:34,960 Speaker 2: of it. That's what I want you to do in 456 00:26:35,040 --> 00:26:36,600 Speaker 2: the scene. That's what he did. 457 00:26:36,920 --> 00:26:45,840 Speaker 3: Wow, Agony and ecstasy, right, yeah, yeah, that makes sense, right, 458 00:26:46,240 --> 00:26:54,800 Speaker 3: And and what a fitting emotional tone or exactly that 459 00:26:55,200 --> 00:26:59,320 Speaker 3: the joy and the fear and the all of it, like. 460 00:27:00,480 --> 00:27:05,040 Speaker 2: The brilliance of that thing to to give a tool 461 00:27:05,840 --> 00:27:09,240 Speaker 2: to the actor. But just you know, just's just try 462 00:27:09,320 --> 00:27:14,000 Speaker 2: this to see if this works. Unbelievable genius. So anyways, 463 00:27:14,000 --> 00:27:16,119 Speaker 2: those kinds of things as I was growing up and 464 00:27:17,000 --> 00:27:20,040 Speaker 2: and watching these films, and you know, watching Kubrick's films, 465 00:27:20,160 --> 00:27:24,960 Speaker 2: and just you know, the the the the breadth of 466 00:27:25,200 --> 00:27:29,600 Speaker 2: filmmaking in every respect of it, the visual spectacle. I 467 00:27:29,760 --> 00:27:33,560 Speaker 2: was a cinerama freak. I love Ultrapana vision. I loved 468 00:27:33,560 --> 00:27:35,280 Speaker 2: all the three D stuff. I went crazy on. 469 00:27:35,520 --> 00:27:38,560 Speaker 3: What's what's your favorite? What's one of your favorite movies? 470 00:27:38,640 --> 00:27:40,040 Speaker 3: I don't know if you could pick one, but one 471 00:27:40,080 --> 00:27:42,000 Speaker 3: of your there is one. 472 00:27:43,240 --> 00:27:45,960 Speaker 2: There's one, but it's not really a film in the words, 473 00:27:46,160 --> 00:27:50,240 Speaker 2: there's this this thing. And then all the great films 474 00:27:50,320 --> 00:27:52,119 Speaker 2: might I think the greatest, one of the greatest films, 475 00:27:52,200 --> 00:27:55,600 Speaker 2: for example, was Lawrence of Arabia is certainly one of 476 00:27:55,640 --> 00:27:58,840 Speaker 2: the great ones. And there's many wonderful films. I mean, 477 00:27:58,880 --> 00:28:02,680 Speaker 2: they just go on from but there's one that is 478 00:28:02,920 --> 00:28:06,040 Speaker 2: so much higher than all the rest. It doesn't qualify 479 00:28:06,119 --> 00:28:08,280 Speaker 2: as a film. And I told the maker of the 480 00:28:08,320 --> 00:28:11,520 Speaker 2: film that personally, and he actually got a little tear 481 00:28:11,560 --> 00:28:13,840 Speaker 2: in his eye. He was so moved by what I said. 482 00:28:14,920 --> 00:28:19,360 Speaker 2: And it was Schinner's list, and I said, Steve, every 483 00:28:19,440 --> 00:28:23,320 Speaker 2: human being before the age of seventeen. Should be required 484 00:28:24,000 --> 00:28:26,480 Speaker 2: to see this before the embark upon becoming a human, 485 00:28:28,240 --> 00:28:34,639 Speaker 2: that's my opinion. But it's so there's so much in 486 00:28:34,760 --> 00:28:40,040 Speaker 2: it that even yeah today, it's so relevant. Yeah that 487 00:28:40,160 --> 00:28:41,120 Speaker 2: it's overwhelming. 488 00:28:43,040 --> 00:28:46,600 Speaker 3: Anyway, I love, yeah that I always like finding out, 489 00:28:47,160 --> 00:28:50,800 Speaker 3: like what is what is the piece that moves you 490 00:28:51,160 --> 00:28:56,880 Speaker 3: or makes you excited about working, you know in this business? Yea, 491 00:28:57,160 --> 00:29:03,440 Speaker 3: and that that is I mean talk about of incredible cinema. 492 00:29:03,920 --> 00:29:07,000 Speaker 2: And then here's other greatest film. I think Spielberg's greatest 493 00:29:07,000 --> 00:29:11,360 Speaker 2: film was Empire of the Sun, the one about the 494 00:29:11,640 --> 00:29:14,600 Speaker 2: little guy that was living amongst the type age Yeah, yeah, 495 00:29:14,760 --> 00:29:19,120 Speaker 2: under Japanese control, and there was so much symbology and symbology. 496 00:29:19,760 --> 00:29:21,760 Speaker 2: John Malkovich is in it and croud of ball. 497 00:29:21,960 --> 00:29:22,760 Speaker 3: Oh he's so good. 498 00:29:23,440 --> 00:29:25,720 Speaker 2: Of course, the score is amazing with all the Welsh 499 00:29:25,760 --> 00:29:29,160 Speaker 2: influence and then the Asian music as well that John 500 00:29:29,160 --> 00:29:33,080 Speaker 2: Williams incorporated in the whole thing. Unbelievably beautiful film. 501 00:29:33,480 --> 00:29:35,800 Speaker 3: Well, that was part one of our interview with the 502 00:29:36,120 --> 00:29:39,400 Speaker 3: amazing and wonderful Larry Blumenthal. And there are so many 503 00:29:39,480 --> 00:29:41,360 Speaker 3: things to catch up on and pick his brain about, 504 00:29:41,400 --> 00:29:43,280 Speaker 3: so we will be releasing part two of this interview 505 00:29:43,400 --> 00:29:46,360 Speaker 3: on Friday, so stay tuned in the meantime. If you 506 00:29:46,400 --> 00:29:48,400 Speaker 3: want to follow us on Instagram, you can find us 507 00:29:48,440 --> 00:29:51,720 Speaker 3: at how Podcast send us a DM make sure you're 508 00:29:51,720 --> 00:29:53,800 Speaker 3: following us on there. Also, you can send us an 509 00:29:53,800 --> 00:29:57,080 Speaker 3: email at Howard Podcast at gmail dot com and make 510 00:29:57,120 --> 00:29:59,520 Speaker 3: sure you're liking and subscribing to the podcast wherever you're 511 00:29:59,520 --> 00:30:01,560 Speaker 3: listening to so that we can stay up in the charts, 512 00:30:01,640 --> 00:30:03,720 Speaker 3: and also so that you can get all of the 513 00:30:03,760 --> 00:30:06,760 Speaker 3: newest episodes as soon as they come out every week. 514 00:30:06,960 --> 00:30:09,720 Speaker 3: So thank you so much for listening to this episode. 515 00:30:10,120 --> 00:30:13,280 Speaker 3: We will be back next time with more And remember 516 00:30:15,680 --> 00:30:20,200 Speaker 3: the house. No, damn it, damn it. I almost said 517 00:30:20,240 --> 00:30:22,400 Speaker 3: the house is small, but the world world is full. 518 00:30:22,560 --> 00:30:26,240 Speaker 3: And that's also true, but not what we're supposed to 519 00:30:26,920 --> 00:30:31,000 Speaker 3: the world is small and the house is full. Why 520 00:30:31,000 --> 00:30:33,840 Speaker 3: does that not say? Does that get your bracelet? Where's 521 00:30:33,840 --> 00:30:35,200 Speaker 3: your bracelet? Jesus? 522 00:30:36,440 --> 00:30:37,240 Speaker 2: That's off. 523 00:30:37,280 --> 00:30:40,560 Speaker 3: The world is small but the house is full. Why 524 00:30:40,600 --> 00:30:43,520 Speaker 3: does that sound weird today? It sounded right the first 525 00:30:43,600 --> 00:30:47,560 Speaker 3: way you said it. The house is small but the 526 00:30:47,600 --> 00:30:50,640 Speaker 3: world is full. No, you're right, that's not wild. But 527 00:30:50,720 --> 00:30:53,960 Speaker 3: the world is small, but the house is full. I 528 00:30:54,000 --> 00:30:56,600 Speaker 3: don't know what's happened, but somehow, I'm it doesn't sound 529 00:30:56,680 --> 00:30:59,280 Speaker 3: right at all of the anytime we need bracelets and 530 00:30:59,520 --> 00:31:03,640 Speaker 3: que cars, that's what we need, Jesus. But even I'm 531 00:31:03,640 --> 00:31:06,080 Speaker 3: saying you correctly, I'm like, is that correct? I don't 532 00:31:06,080 --> 00:31:08,960 Speaker 3: even know whatever. Next time, guys, tune in for part two, 533 00:31:09,080 --> 00:31:11,000 Speaker 3: we'll be here still trying to figure out if what 534 00:31:11,120 --> 00:31:12,720 Speaker 3: we're saying is true or correct